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I like Exciter as well because it’s very simple and positive. I also like the Taxi sleeve for Bryan Ferry.ĭepeche Mode’s Violator is a personal favorite of mine. The ones I’ll probably be remembered for are the Depeche stuff and some of the U2 stuff, like Joshua Tree–in its proper version, not the crappy CD they sell these days–but the real vinyl one–and Achtung Baby. I like some of the album sleeves I’ve done but someone like Peter Saville, I totally admire and love. Personally, I’m not always keen on album covers with photographs. Unfortunately, albums tend to sort of go according to the sales figures how much people remember them. Which do you think you’ll be remembered for most? You’ve done so many historic record sleeves. He was a beautiful man–couldn’t be nicer–but at the same time I had to get past a certain defense system of his.
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Kurt was one of the nicest people I’ve ever worked with. I am drawn to people who take what they do seriously and I admire them more for it. Because, being photographed, you are getting naked in front of someone, in a way. Kurt wanted to see what kind of person I was before we did photographs and I totally that. I was curious if Kurt Cobain was okay with being photographed or if he was defensive. I think we need to be more humble in our approach and be grateful that somebody wants to be photographed by us. It’s very easy to label some people as difficult but that’s quite unfair. I think they have every right to guard their privacy or the way they want to look on a personal level. I don’t want to castigate some people as being difficult, because I don’t think everyone should be open to being photographed all the time. XLR8R: Are musicians generally difficult while being photographed?Īnton Corbijn: Sometimes people are difficult, but generally there’s a reason. After initially turning down Control, he decided his love for the band made him the right man for the job, and we asked him more about the experience. Since then, he’s shot everyone from Tom Waits to Kurt Cobain and developed a prolific, decades-long relationship with Depeche Mode, shaping their iconic album artwork and imagery. In 1979, Joy Division’s music affected him so deeply that he left his native Holland for London–without even a solid grasp of the English language–to be closer to their sound. In fact, Corbijn owes some of his success to the band. The powerful movie, Corbijn’s debut as a feature film director, also shows his intimate knowledge of the Joy Division story. It’s clear when watching Control, Anton Corbijn’s beautifully shot Ian Curtis biopic, that the film was made by a skilled photographer–each artfully designed grayscale frame is more striking than the one before it.